Jordan Wolfson appears in his Raspberry Poser, 2012a fourteen-minute video that premiered this winter at LA’s REDCATas a shaven-headed punk, his leather jacket emblazoned with the names of the Clash and the Jam, his bovver boots kicking up dust on a remarkably anodyne dérive through the streets of Paris. In one telling scene, the New York artist is shown wearing blackface while chatting amiably with an older gent on a park bench in the Sixième. A politically fraught collection of codes that would once have provoked fear and loathing in passersby fails here even to raise an eyebrow. Repeatedly in the video, Wolfson reminds us that the confrontational shock tactics of the original avant-gardes and their countercultural offshoots have been safely contained and neutralized. The point is reiterated elsewhere in the video in a computer-generated image of a condom floating,